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Universidade Federal Do Ceará Instituto De Cultura E Arte Programa De Pós-Graduação Em Comunicação UNIVERSIDADE FEDERAL DO CEARÁ INSTITUTO DE CULTURA E ARTE PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO GUILHERME PEDROSA CARVALHO DE ARAÚJO EU SOU TU, TU ÉS EU: PERSONA 4 E O GÊNERO EM JOGO FORTALEZA 2021 GUILHERME PEDROSA CARVALHO DE ARAÚJO EU SOU TU, TU ÉS EU: PERSONA 4 E O GÊNERO EM JOGO Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal do Ceará, como requisito à obtenção do título de Mestre em Comunicação. Área de concentração: Comunicação Social. Orientadora: Profa. Dra. Inês Sílvia Vitorino Sampaio FORTALEZA 2021 GUILHERME PEDROSA CARVALHO DE ARAÚJO EU SOU TU, TU ÉS EU: PERSONA 4 E O GÊNERO EM JOGO Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal do Ceará, como requisito à obtenção do título de Mestre em Comunicação. Área de concentração: Comunicação Social. Aprovada em: ___/___/______. BANCA EXAMINADORA ____________________________________________________ Profa. Dra. Inês Sílvia Vitorino Sampaio Universidade Federal do Ceará (UFC) ____________________________________________________ Profa. Dra. Georgia da Cruz Pereira Universidade Estadual do Ceará (UFC) ____________________________________________________ Prof. Dr. Ricardo Jorge de Lucena Lucas Universidade Federal do Ceará (UFC) Aos meus pais e à minha irmã, sempre. AGRADECIMENTOS Escrever uma dissertação em um momento tão turbulento é um processo desafiador. São tantas as companhias ao longo do processo, que os agradecimentos acabam se tornando, também, um texto de difícil escrita, talvez por medo de esquecer alguém importante ou não conseguir expressar tamanha gratidão pelas pessoas que fizeram parte dessa jornada. Primeiro, gostaria de agradecer à minha família. Romildo e Cláudia, meus pais, e Tamyres, minha irmã. Obrigado por acreditarem no meu trabalho, obrigado pela escuta, todas as vezes que eu precisei debater, ou só colocar pra fora, o que estava passando pela minha cabeça no momento de escrita. Obrigado por todo o estímulo e por toda a confiança depositada em mim. Acho que eu nunca conseguirei expressar o quão grato eu sou por ter uma família que me apoia e acredita em mim, incondicionalmente. À minha orientadora, Inês Vitorino. Obrigado pelo cuidado, pela atenção, pela dedicação, por ser uma pessoa fundamental nessa trajetória. Você me ensinou muito sobre responsabilidade, paciência, escuta e, sobretudo, humildade. Obrigado, de verdade. À minha mãe acadêmica, Georgia Cruz. Posso afirmar, com toda certeza, que se hoje eu estou escrevendo este texto de agradecimento, foi por sua causa. Obrigado por incentivar a seguir os meus sonhos e por ter visto, e acreditado, no meu potencial. Aos meus amigos, cada um à sua maneira. Isa Sinara e Mateus Pinheiro, obrigado pelo apoio, pelo incentivo, por estarem ao meu lado durante o processo. Gabriel Amarante, obrigado por ter me acompanhado, mesmo longe, desde a seleção até o momento em que eu concluí esse texto. À minha turma incrível de mestrado. Especialmente Mariana Lage e Marina Solon, vocês são uma enorme inspiração para mim, não só como pesquisadoras, mas como pessoas. A Deus, Deusa, Universo, ou como queiram chamar. Eu parei de buscar por aceitação quando eu realmente me encontrei e me entendi, e eu percebi que a minha vida não tem de ser aceita por outra pessoa. Veja, nós olhamos para essas coisas como aceitação e tolerância, e não percebemos o quão degradantes elas são. Você já está se colocando em um pedestal acima de outro ser humano, e nós deveríamos ser iguais. Logo, eu não preciso que você me aceite. Eu posso querer que você me entenda. Mas, para ter a sua aceitação, isso significa que eu acredito que você é maior que eu. Ou eu acredito que você tem algum tipo de privilégio ou autoridade sobre a minha vida, e… de jeito nenhum.1 (Dominique Jackson) 1 Tradução livre do autor. Trecho original: “I stopped looking for acceptance when I actually found myself and understood myself, and I realized that my life is not for someone else to accept. See, we look at these things like acceptance and tolerance , and we don’t realize how degrading it is. You’re already putting yourself on a pedestal above another human being, and we are supposed to be equal. So, therefore, I don’t need you to accept me. I may want you to understand me. But, as far as you accepting me, that just means that I believe that you are greater than I am. Or I believe that you have some kind of privilege or authority over my life, and… no way.” RESUMO Na presente dissertação, buscamos entender como são construídas a identidade de gênero e a orientação sexual dos personagens de Persona 4, a partir dos recursos estéticos, narrativos e mecânicos de um jogo digital. Para tanto, foram levados em consideração o desenvolvimento dos personagens, o ambiente das missões de jogo, os aspectos visuais e a parte de combate e estratégia da obra em questão. A problematização do conceito de jogo teve como base autores como Huizinga (2003), Caillois (2001), McLuhan (2007) e Brougère (2003), e a abordagem de sua forma digital orientou-se pelas contribuições de Schell (2008), Crawford (1982), Adams (2010) e Isbister (2006), entre outras. Para a compreensão dos conceitos concernentes aos estudos de gênero, nos baseamos nas proposições de autores como Butler (2003), Louro (2000), Miskolci (2012), Federici (2018) e Wolf (2019), aliadas ao trato do conceito de personagens, tendo como referência Seger (1990), Cândido et al. (1997), Brait (1985) e Mungioli (2014), entre outras. Pautado em uma abordagem qualitativa, concentrando os esforços em cinco personagens do jogo: Chie, Yukiko, Kanji, Rise e Naoto. Optamos pelo método trifásico de estudo de jogos proposto por Petry et al. (2013). Para a delimitação do corpus, trabalhamos com o conceito de quests como estruturas episódicas de jogos digitais, baseado nos trabalhos de Howard (2008) e Oliveira e Massarolo (2010). Com a análise, observamos que, apesar de utilizar amplamente os recursos dos jogos digitais, Persona 4 ainda recorre a concepções e tropos preconceituosos para a formulação de seus personagens. Se, por um lado, o amplo uso de elementos estéticos, narrativos e mecânicos permite um aprofundamento sobre as questões de gênero relacionadas aos personagens, por outro, o embasamento impreciso de algumas dessas narrativas fortalece discursos excludentes e opressivos já vigentes. Palavras-chave: Jogos Digitais. Gênero. Personagem. Persona 4. ABSTRACT This dissertation aims to understand how the gender identity and sexual orientation of the characters in Persona 4 are constructed, based on the aesthetic, narrative and mechanical resources of a digital game. Therefore, were taken into account the development of the characters, the atmosphere of the game’s missions, the visual aspects and part of combat and strategy from the work in question. The main questioning on the concept of game was based on authors such as Huizinga (2003), Caillois (2001), McLuhan (2007) and Brougère (2003), and the approach of its digital form was guided by the contributions of Schell (2008), Crawford (1982), Adams (2010) and Isbister (2006), among others. To understand the concepts related to the gender studies, the propositions were based on authors such as Butler (2003), Louro (2000), Miskolci (2012), Federici (2018) and Wolf (2019), allied to the concept of characters taking as reference Seger (1990), Candido et al. (1997), Brait (1985) and Mungioli (2014), among others. Based on a qualitative approach, focusing this work’s efforts on five characters: Chie, Yukiko, Kanji, Rise and Naoto; we opted for the three-phase method of studying games proposed by Petry et al. (2013). As for the delimitation of the corpus, we worked with the concept of quests as episodic structures of digital games, based on the work of Howard (2008) and Oliveira and Massarolo (2010). With the analysis, we observed that despite using the resources of digital games widely, Persona 4 still uses outdated conceptions and metaphors for the formulation of its characters. If, on the one hand, the widespread use of aesthetic, narrative and mechanical elements allows a deeper understanding of gender issues related to the characters, on the other hand, the imprecise basis of some of these narratives strengthens the excluding and oppressive discourses in our society. Keywords: Videogames. Gender Studies. Character. Persona 4 LISTA DE FIGURAS Figura 1 - Capas Dos Jogos Mais Vendidos De 2019 .............................................................. 18 Figura 2 - Laura, Sean E Blanka, Respectivamente ................................................................. 19 Figura 3 – Chie, Yukiko, Kanji, Rise E Naoto (Respectivamente) .......................................... 25 Figura 4 – Yu, Yosuke, Chie, Yukiko, Kanji, Rise, Naoto e Teddie (Respectivamente) ........ 31 Figura 5 – Close em Yukiko ..................................................................................................... 83 Figura 6 – Close em Yukiko ..................................................................................................... 83 Figura 7 – Mileena e Scorpion, respectivamente ................................................................... 123 Figura 8 – Jubei e Taokaka, respectivamente ......................................................................... 124 Figura 9 – Juliet Starling ........................................................................................................ 124 Figura 10 – Zhang He, Amane Nishiki e Kuja, respectivamente ..........................................
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